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Why Do the Village People Dress Like That?

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The creation of the Village People is directly
attributed to French composer and producer
Jacques Morali, a gay man who wanted to create
disco music gay men would appreciate.
Moreli, a legendary disco beat-smith who was
responsible for producing a string of disco
hits in the early 1970s, was approached by
a struggling singer called Victor Willis with
a demo tape in 1977.
Morali liked the demo and came up with the
idea of packaging Willis as a member of a
group called, you guessed it, Village People.
As to why he chose the name, Village People,
this was a nod to the thriving gay community
in Greenwich Village, New York.
Morali, using his clout in the disco world,
saw to it that his new creation was signed
to Casablanca records and soon after the Village
People released their first self-titled album
in 1977, with Willis the only member of the
“group”.
To maintain the illusion that Village People
was an actual group and not a carefully crafted
gimmick, Morali employed extensive use of
vocal layering and backup singers while recording
and mixing the aforementioned album.
Initially there was little problem with there
only being one Village Person, but soon enough
the album started gaining traction and the
“group” began receiving offers to perform
live in clubs around New York.
As he couldn’t just send Willis out to sing
on his own, Morali hired a team of dancers
and backup singers to support Willis on stage.
So where do the crazy outfits the group wear
come into this?
Again, Morali was looking to craft a band
that would appeal to and somewhat represent
certain facets of gay culture at the time.
It was during the process of researching how
best to implement that when inspiration struck.
According to Morali’s business partner,
Henri Belolo, the look of the Village People
was inspired by an experience he and Morali
had in a Greenwich gay bar, Les Mouches, which
was having something of a costume ball.
Specifically Belolo would recall in an interview
with disco-disco.com that,
I was talking to the gay community about what
they liked, what they wanted to listen to
musically, and what was their dream, their
fantasy.
One day [producer Jacques Morali and I] were
walking in the streets of New York.
I remember clearly it was down in the Village,
and we saw an Indian walking down the street
and heard the bells on his feet.
We followed him into a bar.
He was a bartender — he was serving and
also dancing on the bar.
And while we were watching him dancing and
sipping our beer, we saw a cowboy watching
him dance.
The Frenchman Morali, who was already a bit
enamoured by American culture and stereotypes,
had a lightbulb go off in his head.
He stated in an interview with Rolling Stones,
“I say to myself, ‘You know, this is fantastic’—to
see the cowboy, the Indian, the construction
worker with other men around.
And also, I think in myself that the gay people
have no group, nobody to personalize the gay
people, you know?…”
Thus, he ultimately approached the man dressed
as a stereotypical depiction of a Native American,
Felipe Rose.
Rose explained that he chose that outfit as
his father was Lakota Sioux.
As they got to know each other, Morali laid
out to Rose his plan for a new disco group.
Rose stated of this,
Jacques showed me a sketch drawing of what
looked to me like the group, with me drawn
in, and a cowboy and construction worker and
a biker.
He said, “We’ve built a group around you
darling, and I’m gonna make you famous.”
I thought, “Oh God.
Jesus Christ, what is this man doing?
This is an awful idea.”
Eventually Morali nailed down all of the roles
that he believed were simultaneously universally
recognisable (at least to the American man)
and embodied the macho, masculine ideals he
felt typified that particular element of the
gay scene.
These were soldier, police officer, construction
worker, cowboy, biker, Native American and
sailor, some combination of which has served
as the basis of the group ever since.
To fill out these roles, Morali placed an
ad in the paper that simply read:
Macho Types Wanted: Must Dance And Have A
Moustache.
As the group already had its Native American,
the casting was to find the construction worker,
cowboy and biker (also sometimes referred
to as the leather man).
Oddly, Willis himself initially didn’t wear
a costume on stage (something you can see
in early music videos released by the group)
and it wasn’t until the group’s fame grew
that he decided to dress as either a policeman
or a sailor when performing.
Another early member of the group, Alex Briley,
similarly performed sans a costume, but quickly
adopted the persona of an all-American GI
when the “look” of the group became one
of its trademark selling points.
It should be noted here that, contrary to
popular belief, being gay was not a prerequisite
of being in the band and several band members
over the years were/are not.
As original band member (cowboy) Randy Jones,
who is gay, noted:
We didn’t start as a gay group, and not
everyone in the group was gay — that’s
an incorrect notion…
The Village People was a mixture of ethnicity,
races, lifestyles, sexualities, sexual orientations,
it was a true village.
It was a mixture of everything…
Despite this, given their band was specifically
formed by Morali to represent gay subculture,
it’s no surprise that not only was their
iconic look crafted to reference said culture,
but many of their songs are dripping with
double-entendres and references that mainstream
audiences at the time generally missed, which
was a very good thing for the popularity of
the band given attitudes of the era in which
the band was topping the charts.
Nowhere is this more apparent than the Village
People’s biggest hit, “Y.M.C.A.”
Morali was inspired to write the song after
seeing the letters on the side of a building
and asking what they meant.
Band member David Hodo (construction worker)
later recalled,
It was 1977, and we were leaving a photography
session on 23rd Street.
Jacques Morali saw the big pink YMCA on 23rd
and asked, “What is this YMCA, anyway?
“And after laughing at his accent, we told
him the Y was a place where you could go when
you first came to New York when you didn’t
have any money — you can stay there for
very little.
And of course, someone joked, “Yeah, but
don’t bend over in the showers.
“And Jacques, bless his heart, said, “I
will write a song about this!”
In a retrospective of the song’s genesis
and eventual success, the aforementioned Randy
Jones expanded upon this story, stating:
I took Jacques there three or four times in
1977, and he loved it.
He was fascinated by a place where a person
could work out with weights, play basketball,
swim, take classes, and get a room.
Plus, with Jacques being gay, I had a lot
of friends I worked out with who were in the
adult-film industry, and he was impressed
by meeting people he had seen in the videos
and magazines.
Those visits with me planted a seed in him,
and that’s how he got the idea for “Y.M.C.A.”…
Hodo would further ring in on of the song,
“Y.M.C.A. certainly has a gay origin.
That’s what Jacques was thinking when he
wrote it, because our first album [1977’s
Village People] was possibly the gayest album
ever.
I mean, look at us.
We were a gay group.
So was the song written to celebrate gay men
at the YMCA?
Yes.
Absolutely.
And gay people love it.”
Despite this, Michael Musto of the Village
Voice notes that Morali seemingly went out
of his way to write “every song with a plausible-deniability
factor that the Village People still use to
rebuff allegations of targeting a gay audience”.
Or as professor at Johns Hopkins University
called Dr. Drew Daniel once so succinctly
put it:
The good, clean fun at the surface level of
the lyrics means that ‘Y.M.C.A.’ has this
incredible capacity to circulate in different
contexts.
If people really thought they were singing
about gay hook-ups in the steam room, they
would not necessarily participate.
As to how the now iconic moves that go with
the chorus of the song came about, the band
members themselves have mildly differing stories
as to the origin, though in all cases it would
seem it was an audience inspired set of moves,
rather than originally planned.
For example, Randy Jones states,
We were flying up from South America for the
show, and we worked on the choreography on
the airplane — handclaps, turning, marching
in place…stuff like that.
Well, the audience at this particular taping
was a bunch of kids bused in from a cheerleader
camp.
The first time we got to the chorus, we were
clapping our hands above our heads.
And the kids thought it looked like we were
making a Y.
So they automatically did the letters.
We saw this and started doing letters with
them.
It was purely audience-generated, which is
probably why it’s still so popular.
And that’s great for me, because it keeps
the checks coming in every six months.
So just to recap, a gay Frenchman created
the Village People, named them after a region
of New York known for its thriving gay community,
had them sing gay themed music aimed at gay
men in a gay way, including dressing in outfits
inspired directly by those worn by gay men
going clubbing.
Morali and co.
ultimately pulled the whole thing off making
the band one of the most iconic of the disco
era all the while with few outside of the
gay community getting the references here,
which given attitudes of the era, if we were
Morali would have provided us with no end
of private chuckles.
On a similarly humourous note, the music video
for the band’s hit In the Navy was notably
filmed on an actual frigate, the USS Reasoner
(whose motto was officially “Fidelity”),
thanks to the group’s manager securing a
deal with the U.S Navy.
The deal was that the Navy would get to use
the song for free in Navy recruitment advertisements
and in return the band would be given access
to the military hardware for their shoot.
What makes this particularly hilarious is
that around the same time the Navy was allowing
a group representing certain facets of gay
culture to sing aboard a Navy frigate about
the navy being a place “Where you can find
pleasure…”- with original intent to use
this music video in Navy recruitment ad campaigns-
they were spending millions of dollars attempting
to route out any gay people from their ranks…
These efforts included a hilariously inept
search for a woman named Dorothy, who they
were convinced knew every gay person in the
military.
In further later efforts to get rid of any
lesbians as well, Vice Admiral Joseph S. Donnell
issued a memo noting how these women could
be identified.
To quote him, “Experience has shown that
the stereotypical female homosexual in the
Navy is hard-working, career-oriented, willing
to put in long hours on the job and among
the command’s top professionals…”
(We can’t make this stuff up.)
In any event, unfortunately for the irony
of it all, the Navy ultimately scrapped plans
to use the Village People’s In the Navy
in their ad campaigns.
In response to people getting offended by
the “cartoonish” depiction of a Native
American in the group, long time band member,
Felipe Rose, who as noted portrays said Native
American and whose father was Lakota, stated,
“Snap out of it!
Grow up!
I’ve had some tribal members speak up against
me, the headdress is certainly controversial,
but I really only wear it for YMCA when we
perform it live to remind people of the image.
No one’s ever told me I have a shitty job,
though.”
Fellow band member Eric Anzalone chimed in,
“Personal opinion: I do believe that the
world is moving towards a dangerous gray area
of political correctness.
We take everything so literally that it sucks
the joy out of everything.
If you remove it out of the decade we originated,
you’re not being true to when we hit our
mark.
We’re a little campy and a little fun, so
let’s leave everything at
the door!”